Sand and Sandcastles

Here’s another chestnut: Life is what you make it. 

But what is life, exactly?

Is life what we think?

Or more in line with how we seem to live our lives today, is life what we do—whether that means building castles in the sand or building them in the sky…

Or is life the stuff we own, show, and store up? And does that definition imply by extension, for example, that if clothes—including those saggy-baggy pants still so popular with teenage boys—make the man, then we are what we wear. (Which makes me—sigh—a pair of plus-size mom jeans.)

Other clichés about life aver more darkly that the only things we can depend upon are death and taxes—or that the only thing we possess in life is our choices. But because ”like sands through the hourglass, so are the days of our lives,” most everyone seems to acknowledge and agree that life is fleeting and unpredictable, so carpe diem, dude.

As far as I’m concerned, no one has ever written more memorably on life as shifting sand than Percy Bysshe Shelley in “Ozymandias.” This poem relates a traveler’s encounter with the ruins of a statue of Pharaoh Rameses II (reigned 1279-1213 BCE), once fifty-seven feet tall, in the desert:

And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.

I remember my first encounter with Ozymandias in high school English. Even then, amidst the thick boredom and confusion surrounding the students’ general reception of all poetic texts, rose a collective and chilling thrum of prescient awareness of this hard truth about our mortality.

Whatever permission we teenagers gave ourselves at the time to carpe diem in consequence of this reading—life’s too short to do homework, man—I don’t recall. To this day, whenever good old Ozy comes to mind it makes me wonder if such mortal knowledge is not part of the unending draw of a bucket, shovel, and bearable stretch of sand along life’s unfathomable and infinitely coursing sea.

Shelley, as it turns out, did not get much time on Earth to figure out and share the mystery and meaning of human life. In its pithy biography of the poet, The Poetry Foundation relates that Shelley, who “called poets ‘the unacknowledged legislators of the world’…drowned while sailing at age 29.” In that short time, however, he “produced gorgeous lyrical poetry quintessential of the Romantic Era.”

So no answers—but what a beautiful record of the effort to record and comprehend!

Life is what you make it: castle and sand are one.

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    Cross-pollination

    This weekend I’ll participate in the annual New Jersey SCBWI convention in Princeton—as an attendee, but also as a faculty member. I’ll be giving critiques on novel, picture book, and rhyming picture book manuscripts, as well as poetry collections. I’ll also teach two sessions of a seminar called “Summoning the Muse: Let Poetry Add Precision and Punch to Your Novel” or “Picture Book.”

    A lot lies in store for this weekend, including seeing some inspiring artwork, taking notes in great sessions on all sorts of topics for children’s book writers and illustrators, and hearing words of wisdom from keynote speakers Kate DiCamillo and Dan Yaccarino. I’m looking forward to soaking up the fellowship as well as the many lessons to be learned at the conference.

    I’ve been working on a MFA in poetry with a focus on versecraft at Western State College of Colorado at the same time I’ve been exploring avenues and opportunities in children’s publishing, and a lot of cross-pollination has occurred in my own writing. The thought of the small part I’ll be playing in the NJ SCBWI conference proceedings is a bit daunting. However, I’m also excited to share what I’ve learned about versecraft with my compatriots.

    This conference is another opportunity for attendees to cross-pollinate in terms of writing and illustrating for children, but personally, I’m also really, really ready to stop, breathe, and admire all the good things blooming around us.

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      There Are No Dogs in This Poem

      There are no dogs in this poem

      No ambassadors, no vintage cars,
      no Yukon gold potatoes. Likewise,
      you’ll find no sepia memories,
      bagpiped dirge, or panting lovers
      lurking in these measured lines.

      Simple tact, however, requires mention
      of sullied sweaty socks tumbling
      down cellar steps, nonce verseforms,
       an overdue water bill leaking
       onto the desk—for imagery,
       at home in a poem,
       humbly signifies the nobler purpose.

       Nonetheless, neither purebred nor mongrel. 

       This isn’t a couch, therefore,
       nor a cornball cartoon doghouse,
       nor any fun-filled Frisbee fete,
       but just a fidgety friendly
       slightly smelly shedding poem
       that urgently needs to walk.

       Felicia Sanzari Chernesky

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        Standing by the Shore

        It’s early March. Where’s the blue sky? Where are the winds of change? This week has been filled with devastating weather—and what nerve I must have to post this glorious photograph, so warm and inviting one can hear the surf and feel the foam and sand?

        Peace, readers.

        Where I live, it’s merely gloomy. The daffodils are still sleeping and the world’s drenched in gray showers that carry the soporific sting of lingering winter. That’s an oxymoron, but these dreary days embody, for me, the mystery of Lent, the slow and painful promise of spring fulfilled, and most of all our human struggle to remember that the sun always returns—despite the shrouded gloom that so often envelopes us, clouding our unknowing way forward. 

        I know this will seem contradictory, but whenever I look at a photograph like the one above it reminds me of Matthew Arnold’s “Dover Beach,” and always the final stanza:

        Ah, love, let us be true
        To one another! for the world, which seems
        To lie before us like a land of dreams,
        So various, so beautiful, so new,
        Hath really neither joy, nor love, nor light,
        Nor certitude, nor peace, nor help for pain;
        And we are here as on a darkling plain
        Swept with confused alarms of struggle and flight,
        Where ignorant armies clash by night.

        I know this seems a contradiction: offering you these haunting, seemingly hopeless words about the human condition in strange juxtaposition to the sunny, serene landscape of the photo. But it’s the smallness of the child standing at the foamy foot of a limitless and unknowable sea that gets to me. And it’s that clash—the cliché human struggle to overcome pain and master uncertainty—and the call to Love, like a small gray gull’s cry in a blue unfathomable infinity that grounds me in what and who I am.

        Do you also see those footprints in the sand? They tell me: I am still here and standing upright! Like the sleepy buds about to burst into bright yellow wakefulness in the midst of blustering, change-filled March.

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          Leaping

          Leap Year Triolet

          On this last day of February, leap
          with gusto into March—and bring your roar.
          Forsake the numbing company you keep.
          On this last day of February, leap
          with green and growling hope (don’t be a sheep)
          and snarl goodbye to Winter, that cold bore.
          On this last day of February, leap
          with gusto into March—and bring your roar!

          Felicia Sanzari Chernesky

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            Anticipating Spring

            Anticipating Spring

            Fill my heart               
              with love hidden        
                in the hovering mist   
                  of grey mornings,       
                    when birds sing blue  
                      and shadows cut        
                        bold new frontiers                  
                          on young green leaves.frog

                          Fill my heart                           
                        with love hidden                    
                      in the whirling molecules       
                    of water arcing                       
                  from stone frog mouths         
                with playful plash                  
              into cool ponds                      
            of shy orange fish.                 

            Fill my heart
              with love hidden
                in the terra-cotta shards
                  of broken jars
                    and scattered brown loam
                      drinking in rain—
                        mustering strength for
                          the next inevitable blossom.

             

            Felicia Sanzari Chernesky 

             

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              Needles and Ice

              Three things:

              1) In response to reader inquiry, the interview with Fran Ciotoli will be posted this weekend.

              2) What a week! I generally work neat, but as I pause to look around my crowded desk, littered with empty coffee cups, school notices, constantly revised household and editorial “to do” lists, fragments of poems, etc., and remember it’s Friday, I’m stunned. Some weeks life is a speeding train. (Who am I kidding, every week is like that.)
               
              I have a Friday ritual. I steal about fifteen minutes to read the reviews of opening films on rogerebert.com. I will probably never see 95 percent of the movies Roger Ebert critiques, and some of his personal views that come through in the reviews make me uncomfortable, but I love his writing. I love that he’s well-read and culturally thoughtful and I always look forward not only to what he has to say, but how darn well he says it.
               
              If I do have the time and good fortune to see a movie that Ebert has reviewed I go back and reread the review to compare my response to what he’s written. And sometimes I haven’t ever seen the movie, but remember Ebert’s review and reread it entirely for the pleasure of the reading experience.
               
              I think this has improved my own writing, particularly in this format, which must be timely, accessible yet encompassing, detailed yet efficient. Easier said than done, and Ebert—regardless of whether one likes what he has to say about film, or anything else for that matter—brings it to an art form.
               
              3) I experienced considerable discomfort in making one of yesterday’s posts. “Ground Hog Day” marks the anniversary of my dad’s survival of open heart surgery the year Giants won the Superbowl. (I reread this piece yearly on February 2.) I worried that the subject matter was too serious for the blog, but have received feedback that sharing it here proved cathartic for others, which heartened me.
               
              My other concern was the abstract quality of the writing. Notice that I haven’t called “Ground Hog Day” a poem. It isn’t. I would label it fragments of poetry collected and organized under a theme. I’ve learned that to call it a poem would require it to have some organizing verse principal, which it does not have. To call it a poem, I’d have to address that.
               
              I have no fear of or abhorrence for abstractions in writing or in reading. I am sometimes drawn to it on both counts, and in this instance I felt, after tinkering with the language, that there was sufficient rhetorical coherence to share “Ground Hog Day” with readers. I knew that some lines would provide narrative and others generate impressions—of uneasiness, for instance, or relief. When I experiment with writing in this manner I am attempting to create an environment for the reader to explore the sensations the language elicits, the images it forms, and any impressions that may linger.
               
              When I look at the photograph above I see pine needles and bits of ice. The icy snow has clearly been crushed underfoot and the pine needles blown down, perhaps by a harsh winter wind. I hear the wind howl and feel the brittle snow crunch and shiver. But part of what I also sense are tall pines and deep snowfall in whispering stillness. I don’t need, literally, to see these images to know they’re also part of how things are.
               

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                Some Very Bad Verse

                Per blogopus reader request, here’s a taste of the worst (in my opinon) to go with your morning cocoa and a window full of the season’s first real snowfall. Found on pages 103–04 of Very Bad Poetry (Vintage, 1997), edited by Kathryn Petras and Ross Petras, I present “I Saw Her in Cabbage Time: A Dutch Melody,” by Slocum Slugs, Esq. (1857).

                Enjoy—but get out the Tums:

                I saw her first in Cabbage time,
                She was a-cutting kraut—
                She’d stop the cutter, now and then,
                To turn the head about;
                And as she’d salt it in a tub
                And stamp it down awhile
                Upon her fresh and rosy lip
                Reposed a witching smile.

                I saw her next in Winter time
                And still she gaily smiled;
                For there upon the cooking-stove
                Her grub was being boiled;
                Around the huge and greasy pot,
                The steam came pouring out;
                And from the smell I knew that she
                Was cooking “speck” and kraut.

                When next I saw her, in the Spring,
                She smiled not as before:
                A heavy weight was on her heart—
                The kraut was “all no more!”
                The pot she used to cook it in
                Was eaten up with rust;
                The cutter hung upon the wall
                ‘Mid spider webs and dust.

                To say that one can smell the sauerkraut a-simmering while reading this poem is an understatement. It’s bad in every poetical direction—from pairing “boiled” and “smiled” in an end rhyme to establishing the image of a gay young girl as a greasy, sweaty, steamy cauldron of sauerkraut to using a rusty pot and dusty cutter as a metaphor for a broken heart. Talk about versifying speck* and kraut!

                And now this post is all no more!

                *Speck = pork. 

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